Ghalib’s most famous couplets

There is an anecdote, possible apocryphal, that Mirza Asadullah Khan ‘Ghalib’ was so impressed with one couplet of his contemporary, Momin that he declared he was ready to foresake his whole oeuvre for the honour of being considered its author.

The depth and subtlety achieved in less than a dozen words is stupendous and is a characteristic of Momin. But this post will not even get talking about Momin because he deserves a post (s) to himself and shall soon get them.

Returning to the original motif, it is understandable for any poet to lament not having crafted such an intricate thought. Well anyone, had it not been Ghalib, who has himself penned several couplets – each of which could have been enough to keep him remembered, had he never picked up the pen again.

He wrote 235 ghazals – a number many of his contemporaries and successors bettered – but each of them is a dazzaling display of literary pyrotechnics that have to be read.

The following is a personal selection, but some of them well could be. I must confess that some of the first few are from the ghazals in the film ‘Mirza Ghalib’ but who can ignore them. It is a treat to hear Talat and Suraiyya’s renditions, specially in the duet treatment of ‘Dil-e- nadaan’ and the other ghazals they sing, especially Suraiyya in ‘Aah ko chahiye’ where her voice captures Ghalib’s intent perfectly – a fact recognised by no less that Jawaharlal Nehru, who seeing the film, publicly complimented her for bringing the spirit alive. “Ladki, tumne aaj Ghalib ki rooh ko zinda kar diya,” is what he said. Even Rafi sparkles in ‘Hai bas ki har ek unke ishaare….’ giving the tongue-in-cheek lyrics the sort of flippancy they need.